selected projects
2006
RELATIVE / KERABAT
Family Portrait of Tino Djumini
@ Rumah Seni Yaitu – Semarang
ArtconneXion @Museum Nasional
Pameran artconneXions
Proyek artconneXions lahir pada awal tahun 2004 sebagai inisiatif Goethe-Institut di Asia Tenggara, Australia dan Selandia Baru, dengan sasaran mengembangkan lebih luas pertukaran budaya antara Jerman dan kawasan ini. Goethe-Institut berhasil mempergunakan jaringannya dari 9 pusat budaya di wilayah ini untuk melibatkan para seniman, kurator, sekolah seni dan galeri dalam dialog seni baru.
Perupa yang terlibat:
Uschi Huber (Jerman), Leah King-Smith (Australia), Sherman Ong Beng Ann (Singapore), Valentina Seidel (Jerman), Le Vu (Vietnam), Reiner Leist (Jerman), Matthias Koch (Jerman), Lisa Crowley (New Zealand), Erik Prasetya (Indonesia), Heidi Specker (Jerman), Michael Shaowanasai (Thailand), Juergen Bergbauer (Jerman), Nicola Meitzner (Jerman), Jay Yao (Filippina), Shaun Gladwell (Australia), Martin Fengel (Jerman), Yee I-Lann ( Malaysia), Albrecht Fuchs (Jerman)
Kurator yang terlibat
Thomas Weski (Jerman), Firman Ichsan (Indonesia),Gridthiya Gaweewong (Thailand),
Peter Shand (New Zealand), Terence Yeung (Singapore), Susanne Davies (Australia, Melbourne), Tran Luong (Vietnam), Alasdair Forster (Australia, Sydney), Kenneth C Esguerra ( Filippina), Beverly Yong (Malaysia).
KURATOR PAMERAN DI JAKARTA :
Rifky Effendy
organised by
2005
Vague
Organise by CCF, Jakarta
2005
Abstract Coret
collaborative Installation @ Cemara 6 Galeri; Jakarta
2004
TRANS-INDONESIA
Govett Brewster Gallery – New Plymouth , New Zealand
2004
Imagining Jakarta
9 September – 29 October 2004
a collaborative project architects and artists
Is Jakarta a failing metropolis?
Imagining Jakarta feels that Jakarta has never been given a chance to succeed. Her potentials, including even ones that might arise from her problems, if understood correctly, have yet to be given ample space and momentum, vis-à-vis a way of developing that lacks discourses, perspectives, imaginations, and participations. The existing plans and “projects” tend to avoid the heart and the true scale of the matter..Visit : http://imaginingjakarta.wordpress.com/
2003
Boys Don’t Cry
ruangrupa – Jakarta . Cemeti Art House, Jogjakarta
at Cemeti Art House
2003
NICE BOY
Solo Exhibition of Tino Djumini
Cemara 6 Galeri , Jakarta – Soemardja Gallery, Bandung – Kedai Kebun Forum, Jogja
2001 – 2002
Yasumasa Morimura
Touring Exhibition : bandung – Jogja – bali – solo
This ‘Yasumasa Morimura Touring Exhibition 2001-2002′ is aimed to recognition toward Asian the development of contemporary art in Indonesia. In doing so, this exhibition present the works of Japanese artist Yasumasa Morimura (b.1951, Osaka). The choice to present Morimura is because he has been one of prominent figures representing the development of Asian Art in the international art scene for more than one last decade. He has been invited to participate in many important art exhibitions inside and outside Japan, some of which including ‘XLII Biennale in Venezia, Aperto 88′ in Venice, ‘Contemporary Art from Post-Modern Japan’ at Tate Gallery in Liverpool, Asia-Pacific Triennale at Queensland Art Gallery Australia and so on. Most of his works comprise two dimensional photographic and digitally retouched images, which is the most recognizable character of his art. However, his amazing reputation is not the only reason. The most important is that his works are very interesting to discuss, especially by the public in Indonesia where many artists have also done a quite similar manner of creating art labeled with various terms that are often interchangeably called: ‘appropriation’, ‘bricollage’, ‘pastiche’, and so on.
This exhibition shows parts of some of Morimura’s periods of artistic journey, namely ‘Self-Portrait as Art History’, ‘Actress’ and ‘Psychoborg’ series, which have been considered to represent important phase of his exploration in art. In the ‘Self-Portrait as Art History’ series, the artist takes ‘Art History’, specific term related with academic discipline, as the subject matter of his works, in which be presents the image of himself by ‘re-creating’, reproducing’, ‘reconstructing’, and finally deconstructing the masterpieces works, including the works of Van Gogh, Manet, Rembrant, Velasquez and others, even also the works from Japanese traditional art. The maestros’ paintings as the initial resource are used as the reference to express his personal ideas or narration, with a painstakingly preciseness, often ‘cynically’ but also ‘happily’, full of humor. Through such manner of visualization, Morimura’s works deal with the critique toward the art history and domination of the museums, as the ’system’ that gives legitimization to the existence of certain artists, while at the same time, there are other artists who have actually been marginalized. Some art critics have called these works series as the homage of love and hate of the artists to the history of art and of ideas.
Morimura also often uses photography techniques along with make-up and lighting, which can be accomplish only through a deep knowledge and sufficient experiences, to create his own image into other icons. This is also what he has the done in works called ‘Psychoborg’ and ‘Actress’ series, in which be impersonates and act out entirely himself as some Hollywood best-known figures such as Madonna, Michael Jackson, Marilyn Monroe and Brigitte Bardot. The popular icons provocatively turn into images that would probably force as to glance and think further about the dichotomy of ‘high art’ sensibility and the realm of ‘popular culture’. Here, the artist also tends to pass the borderless male-female sexual dichotomy, through ambiguity and multifaceted images of the self.
Many writings and essays on Morimura have always been dealing with the relationship between his works and postmodernism. This is also important consideration in presenting this exhibition in Indonesia. As we know, the debate on postmodernism in Indonesian contemporary art has rapidly emerged among Indonesian artists, critics and scholars during the early 90s decade, although it ended with a big question mark until now. However, the unfinished debate at least left some clear traces, since some keyterms related with the ‘ism’, such as: ‘hyper-reality’, ’simulation’, ‘deconstruction’, ‘intertextuality’ and so on, can still be found in some recent essays and writings on Indonesian contemporary art and used in various meaning. Therefore, this exhibition, perhaps, could again concrete artifacts as a media to stimulate such a discussion more comprehensively, especially in relation to the development of Indonesian art practice.
1999
WEARABLE : bandung – jogja – bali
|
|
